WALLS THAT CAN TALK...

DREAM, UTOPIA OR FANTASY?

TWO ROADS DIVERGED IN A WOOD, AND I, I TOOK THE LESS TRAVELED BY, THAT HAS MADE ALL THE DIFFERENCE... ROBERT FROST CITY MUSEUM FOR ISTANBUL by ELIF ERTEKIN

A THESIS PROJECT SUBMITTED TO THE FACULTY OF THE VIRGINIA POLYTECHNIC INSTITUTE AND STATE UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE

APPROVED BY:

PAUL EMMONS JAAN HOLT MARCO FRASCARI Commitee Member Chairman Commitee Member

BRIAN KANE SUSAN PIEDMONT-PALLADINO Commitee Member Commitee Member

JUNE 04, 2004 WAAC ALEXANDRIA, VIRGINIA i COPYRIGHT 2005, ELIF ERTEKIN ABSTRACT Victor Hugo Victor

MY THESIS; “ CITY MUSEUM FOR ISTANBUL” TELLS THE STORY OF ISTANBUL . THE PROJECT; FROM ITS PLANS TO ITS ELEVATIONS AND SECTIONS IS DESIGNED BY A CLEAR UNDERSTANDING AND CLASSIFICATION OF THE CITY AND ITS LONG HISTORY. EVERY DETAIL THAT HAS BEEN INSERTED IN THE BUILDING HAS BEEN

USED IN ISTANBUL, IS A PROOF OF SOMETHING THAT BELONGS TO THE CITY AND monument in this and its page ght has its THE TASTE OF ITS PEOPLE. THE MOST STRIKING CHARACTERISTIC OF THE MUSEUM IS; ITS GIANT AND POWERFUL WALLS. THE IDEA OF USING WALLS CAME FROM THE FACT THAT ISTANBUL WAS FOUNDED AS A WALLED CITY. FOLLOWING THE HISTORY OF ISTANBUL, I PICKED UP THE MOST IMPORTANT ASPECTS OF THE CITY AND WITH RESPECT TO THEIR ORIGINAL FUNCTIONS, I USED THEM IN MY DESIGN. THE CITY WALLS WERE JUST THE BEGINNING; THEY HELPED ME TO DIVIDE MY SITE INTO DIFFERENT PARTS, DEFINING SPACES AND HANDLING EVERY FUNCTION IN THE MUSEUM. FROM EXHIBITION AREAS TO COURTYARDS, OFFICES TO THE CAFETERIAS EVERYTHING HAPPENS BETWEEN THE NARROW, HIGH AND MASSIVE WALLS. THEIR APPEARANCES AND THE MATERIALS CHANGE DEPEND- ING ON THEIR RESPONSIBILITIES; THAT IS HOW THEY START TO TALK AND WHERE THE JOURNEY OF ISTANBUL BEGINS...

CITY MUSEUM FOR ISTANBUL

BY . ELIF ERTEKIN . immense book Architecture had always been the handwriting of the human race. That not only every religious symbol but even every human thou That not only every religious symbol but even every human Architecture had always been the handwriting of the human race.

ii DEDICATION

THIS BOOK IS DEDICATED TO MY FAMILY WITH DEEPEST LOVE AND APPRECIATION;

TO MY MOTHER ISIK ERTEKIN TO MY BROTHER ERGUN ERTEKIN AND TO THE MEMORY OF MY FATHER ERDOGAN ERTEKIN

iii ACKNOWLEDGEMENTS pablo picasso pablo

I WOULD LIKE TO THANK ALL THE PEOPLE WHO HAVE HELPED ME ALONG THE WAY COMPLETING MY DREAM;

FIRST AND FOREMOST, I MUST THANK MY MOTHER ISIK ERTEKIN AND MY BROTHER ERGUN ERTEKIN FOR THEIR EXTRAORDINARY PATIENCE, SUPPORT AND ENDLESS LOVE. WITHOUT THEM, I WOULD NEVER HAVE MADE IT. THANK YOU FOR KEEPING ME STRONG, BELIEVING IN ME AND LETTING ME DO SO EVERYDAY. I LOVE YOU BOTH.

I WANT TO THANK MY THESIS ADVISORY COMMITTEE; JAAN HOLT, PAUL EMMONS, MARCO FRASCARI, SUSAN PIEDMONT-PALLADINO AND BRIAN KANE. JAAN; I WANT TO THANK YOU FOR OUR CONVERSATIONS, I ENJOYED EVERY SINGLE WORD OF THEM AND I LEARNED A LOT FROM YOU. THANK YOU FOR SEEING ME EVERYTIME I NEEDED YOU AT MY DESK, MAKING ME STRUGGLE WITH QUESTIONS AND ALWAYS HELPING ME FIND OUT THE RIGHT SOLUTIONS. PAUL; THANK YOU FOR ALWAYS ASKING ME THE RIGHT ISSUES AND KEEPING ME ON TRACK WITH MY INITIAL THOUGHTS. EVERY DISCUSSION WAS A FULFILLMENT FOR ME, AND WORKING IN A BIG SITE WOULD NEVER HAVE BEEN SO ENJOYABLE IF I WAS NOT WORKING WITH YOU. MARCO; YOUR STORIES WERE ALWAYS AN INSPIRATION FOR ME AND THEY ALWAYS LEAD ME TO AN ANSWER WHICH TURNED OUT TO BE AN ENJOYABLE JOURNEY. SUSAN; THINKING ABOUT MY CITY ALONG WITH YOU, MADE ME FIGURE OUT THE ESSENTIALS I NEEDED; AFTER EVERY CRITIC I HAD WITH YOU, I REALIZED A NEW CONCERN TO PRESENT IN MY MUSEUM. BRIAN, MY COURTYARDS AND PLAZA WHICH GAVE ME SO MUCH PLEASURE AT THE END, IS A RESULT OF OUR LONG DISCUSSIONS. YOUR BELIEF IN MY LANDSCAPE DESIGN MADE ME MORE PASSIONATE TO FIND A SOLUTION.

AS FOR THE PAGES THAT FOLLOW, I MUST THANK THE INDIVIDUALS WHO CONTRIBUTED MANY LONG DAYS AND NIGHTS OF FRIENDSHIP, ADVICE AND ASSISTANCE FOR MY FINAL SHOW;

JENNIFER JOHNSON, ALEJANDRO SANTOS, NATALIA GARCIA MONTAGNA, GEORGE MAKRINOS, MAGDELENA EUGUES, LUCIA GENOUD, PAUL KOMAR, CAROLINA DAYER, IRENE NAPFLIOTIS, CECILIA DE LA VEGA, LAURA CROCE AND CLAIRE ANDREAS. I WOULD LIKE TO THANK YOU ALL, I WILL ALWAYS REMEMBER THE TIMES THAT WE SHARED TOGETHER. Anything you can imagine is real.

FINALLY, I WANT TO THANK ISTANBUL- THE BEST PLACE TO BE- FOR INSPIRING ME TO COMMIT TO AND RESPECT ARCHITECTURE.

iv TABLE OF CONTENTS

PRELUDE:

TITLE PAGE ...... i ABSTRACT ...... ii DEDICATION...... iii ACKNOWLEDGMENTS ...... iv

PROCESS:

CHAPTER INTERPRETING THE CITY CHAPTER 5 DIFFERENT CHARACTERISTICS OF THE WALLS CHAPTER 1 THE ESSENTIALS OF ISTANBUL AND THE SITE 2 IDENTIFICATION OF THE WALLS...... 34 THE CITY...ISTANBUL...... 1 THE SITE AS A MAP...... 14 THE JOURNEY INSIDE AND OUTSIDE OF THE WALLS...... 37 THE WALL...... 2 NAMING THE WALLS...... 17 THICKNESS OF THE WALLS...... 39 CITY WALLS OF ISTANBUL...... 3 INSIDE THESE WALLS...... 18 VICTOR HUGO; THIS WILL KILL THAT...... 4 RESPONSIBILITIES OF THE WALLS...... 21 PROPOSAL: THE SITE DISTRICT...BEYOGLU...... 5 THE FLOW OF THE WALLS OF THE CITY...... 22 THE SITE...... 6 THE PLAZA AND THE ENTRANCE...... 23 CHAPTER 6 AND THE WALLS TALK SITE PICTURES...... 7 CHAPTER 3 THE FIRST STOP THE FINAL SHOW ... WALLS TALK...... 41 WALLS SURROUND MANY THINGS...... 8 FIRST STOP IN THE JOURNEY OF THE CITY...... 24 DETAILS OF THE CITY...... 49 THE MAIN PERIODS OF ISTANBUL...... 9 THE CONNECTION...... 25 FINAL SHOW...... 58 THE PROGRAM...... 10 WHAT WALLS WANT TO SAY...... 27 THE WALL AND THE SITE ...... 11 POSTLUDE: DISTRICTS OF ISTANBUL...... 12 CHAPTER 4 WORDS OF THE WALLS WALLS HAVE FEELINGS...... 13 LAYERS OF THE WALLS...... 30 CREDITS...... 60 TWO DIFFERENT SCALES OF THE WALLS...... 31 VITA...... 62 PARTS OF THE MASTER PLAN...... 33

v THE CITY OF ISTANBUL

ISTANBUL, ONCE KNOWN AS THE CAPITAL OF CAPITAL CITIES, TODAY, EVEN IF IT IS NOT THE CAPITAL OF TURKEY ANYMORE, IS THE ONLY CITY IN THE WORLD TO SPAN TWO CONTINENTS, ISTANBUL REMAINS ITS LARGEST CITY AND VIBRATES WITH THE ENERGY OF A MODERN METROPOLIS. AND THE ONLY ONE TO HAVE BEEN A CAPITAL DURING TWO IN ADDITION TO BEING THE COMMERCIAL CENTER, THE CITY CONSECUTIVE EMPIRES; BYZANTINE AND OTTOMAN. IT IS ALSO CLAIMS ITSELF AS THE ARTS CAPITAL OF THE COUNTRY. SUPPORTING A MIXTURE OF HIGH AND POPULAR CULTURE, ONE OF THE OLDEST AND GREATEST CITIES OF THE ISTANBUL MAINTAINS WORLD-CLASS MUSEUMS AND WORLD WITH ONE ARM REACHING OUT TO ASIA AND THE OTHER ANNUALLY HOSTS A SERIES OF INTERNATIONAL FESTIVALS EACH TO EUROPE. THROUGH THE HEART OF THE CITY, RUNS THE CELEBRATING ONE OF THE PERFORMING OR VISUAL ARTS. 1.3. .Esma Sultan Mosque

MARMARA SEA KNOWN AS THE BOSPHORUS. DUE TO HER

GEOGRAPHIC LOCATION, ISTANBUL HAS ALWAYS BEEN A 1.1.Galata Tower

FAVORABLE SETTLEMENT FOR HUMAN BEINGS STARTING FROM

THE EARLY AGES. THE CITY HAS BECOME A CENTER WHERE

VARIOUS CULTURES AND RELIGIONS ARE COMBINED, SURVIVED

AND SUCCEEDED EACH OTHER AND ITS BEAUTY LIES IN ITS 1.4. View of Golden Horn ABILITY TO EMBRACE ITS CONTRADICTIONS; ANCIENT AND

MODERN, RELIGIOUS AND SECULAR, ASIA AND EUROPE,

MYSTICAL AND EARTHLY ALL COEXIST IN THE CITY. THIS

CULTURAL STRUCTURE WHICH ENABLES A GOOD NUMBER OF

ELEMENTS THAT CONTRADICT WITH EACH OTHER AND YET 1.2. Location of Istanbul EXIST TOGETHER EVEN ONE IN ANOTHER, IS A PRODUCTION OF

AN ACCUMULATION OF LONG HISTORY. THE CITY HAS BEEN 1.5. Sultan Ahmet Mosque CONQUERED, FOUGHT OVER AND REBUILT MANY TIMES OVER

THE CENTURIES. THE HISTORY OF ISTANBUL DATES BACK TO

THE 3RD MILLENNIUM BC.

TODAY, THE CITY DEFINES A GREAT CITY, NOT ONLY WITH HER

POPULATION AND THE AREA SHE COVERS BUT ALSO WITH THE

VARIETY OF CULTURES SHE BRINGS TOGETHER.

1.6. Courtyard in Beyoglu 1.7. Taksim- Beyoglu 1.8. Dolmabahce Palace 1 THE WALL

...walled towns are unique inheritances from times long past and should be treasured, maintained and safeguarded from neglect and destruction and passed on to perpetuity as irreplaceable timestones of history...

Piran Declaration

THE WALL DEFINES TERRITORIES, IT DIVIDES TWO SPACES, EACH OF WHICH HAS A DIFFERENT CONTENT. THE BUILT WALL SHOWS THE ACTUAL WAY IN WHICH TWO DIVERSE AREAS MEET, THUS INTERPRETING THE STRONG RELATION BETWEEN THEM.

WALL 1. (n) an upright structure built to enclose or divide a space, especially one side of a room or building 2. a continuous structure of masonry or other material forming a rampart and built for defensive purposes. IT IS WITHIN WALLED CITIES THAT THE LIFE OF CIVILIZED MAN BEGAN ,THE WALLS 3.(V..) to provide to surround, or protect, with GUARDED HIM AGAINST BARBARIAN FOES, BEHIND THEIR SHELTER HE FOUND THE or as if with a wall SECURITY NECESSARY TO HIS CULTURAL DEVELOPMENT, IN THEIR DEFENSE HE www.dictionary.com SHOWED HIS FINEST QUALITIES.

2 CITY WALLS OF ISTANBUL

1

2

3

3.1.Cross section of the land walls The collage showing the growth of land walls over the years LAND WALLS CONSISTED OF 3 PARTS; A MAIN WALL (1), A LOWER FRONT WALL THAT WAS ADDED IN 447(2), AND A TRENCH (3) THAT WAS DIVIDED IN SECTIONS AND COULD BE FILLED WITH WATER. ISTANBUL’S LAND WALLS, ONCE AN IMPENETRABLE MY RESEARCH FOR MY THESIS STARTED WITH THE QUESTION: FORTIFICATION STRETCH SEVEN KILOMETERS FROM THE SEA OF MARMARA TOWARDS THE GOLDEN HORN AND THEY DATE BACK TO THE FIFTH CENTURY AND THE REIGN WHAT THE WALL DO? OF EMPEROR THEODOSIUS II. 3.2. Land walls of Istanbul WALLS ALWAYS AMAZED ME BECAUSE I SAW THEM AS THE PRIMARY ELEMENT OF A BUILDING. I RESEARCHED DIFFERENT TYPES, TEXTURES AND MATERIALS OF WALLS THE I AND THE IMPACT THEY CREATE ON PEOPLE’S PSYCHOLOGY. IT BECAME MORE AND MORE AMAZING AS I MOVED ALONG WITH THE QUESTION IN MY MIND; DO WALLS REALLY HAVE FEELINGS? CAN THEY TALK? IF SO... HOW?

3.3. Power of the walls 3 VICTOR- HUGO; THIS WILL KILL THAT

I ALWAYS BELIEVED IN THE POWER OF ARCHITECTURE. EVEN LONG BEFORE I CHOSE MY PROFESSION, I WAS AMAZED BY THE BUILDINGS SURROUNDING ME. I ALWAYS THOUGHT ABOUT THE EVENTS THEY HAD WITNESSED AND I HEARD THEM WHISPERING. IT WAS ONLY MY PERCEPTION, MAYBE A WISH; BUT I WAS A CHILD THEN AND IT WAS A COMPLETE MYSTERY FOR ME. WHEN IT WAS TIME TO MAKE A DECISION ABOUT MY PROFESSION, MY FUTURE LIFE I MAY SAY, I DID NOT HESITATE TO STUDY ARCHITECTURE; TO UNDERSTAND, TO DESIGN BUILDINGS AND TO BE A PART OF THE SPECIAL WORLD WHICH TURNED OUT TO BE SO DIFFERENT AND MORE AMAZING FROM WHAT I KNEW SO FAR.

CONSIDERING THE FACT THAT MY THESIS SHOULD HAVE BEEN AN ANSWER TO MY CURIOSITY IN ARCHITECTURE, I WANTED TO DESIGN A BUILDING WHICH CAN TALK TO PEOPLE IN EVERY SINGLE DETAIL AND AS A WHOLE. I WANTED TO PROVE THAT ARCHITECTS, EVEN IN THE 21ST CENTURY, HAVE THE RESPONSIBILITY OF EDUCATING PEOPLE WITH THEIR DESIGNS AND GIVE A SOUL TO THEM. 4.3. The walls of Karnac

VICTOR HUGO’S NOTRE DAME, WHICH IS FAMILIAR TO MOST OF US, CONTAINS A SPECIAL CHAPTER IN SOME SPECIAL EDITIONS. THIS CHAPTER WHICH IS NAMED THIS WILL KILL THAT; CONTAINS HUGO’S CONCERNS ABOUT THE FAST PUBLICATION OF BOOKS. HE ARGUES 4.1.The portrait of Victor Hugo THAT, UP TO THE FAST PRODUCTION OF THE BOOKS IT WAS ONLY ART AND ARCHITECTURE FROM WHICH WE COULD LEARN ABOUT HISTORY. HE SAYS; ...THAT ARCHITECTURE DOWN TO THE 15TH CENTURY WAS THE PRINCIPAL REGISTER OF HUMANITY; THAT DURING THIS PERIOD THERE DID NOT APPEAR IN THE WORLD A THOUGHT OF ANY COMPLEXITY WHICH WAS NOT WORKED INTO A BUILDING; THAT EVERY POPULAR IDEA AND EVERY RELIGIOUS LAW HAD ITS MONUMENTAL RECORDS; THAT IN FINE; THE HUMAN RACE HAD NO IMPORTANT THOUGHTS WHICH IT DID NOT WRITE IN STONE. AND WHY? IT BECAUSE EVERY THOUGHT BE IT RELIGIOUS OR BE IT PHILOSOPHICAL, IS INTERESTED IN PERPETUATING ITSELF AND BECAUSE THE IDEA WHICH MOVED ONE GENERATION WISHES TO MOVE OTHERS AND LEAVE ITS TRACES.

HIS ARGUMENT WAS CLOSE TO MY INTENTION OF DESIGNING A BUILDING WHICH COULD TALK TO PEOPLE. EVEN THOUGH I AM NOT OPPOSED TO THE FAST PRODUCTION OF THE BOOKS, I INSIST ON THE FACT THAT THE BUILDINGS SHOULD BE SEALED WITH THE IMPORTANT ASPECTS OF ITS AGE THAT THEY SHOULD GIVE MESSAGES TO PEOPLE AND THAT ARCHITECTS ARE RESPONSIBLE TO MANAGE THAT.

THE ARCHITECTURE CONCEPT, WHICH IS THE CRUCIAL ARGUMENT IN OUR DESIGNS, SHOULD BE THOUGHT OUT CAREFULLY AS WE ARE ABLE TO REACH PEOPLE BY OUR CREATIVITY. THIS IS THE MAGICAL POWER OF THE HISTORICAL BUILDINGS, THE ONES THAT WE FALL IN

4.2. The illustration of Karnac in Notre- Dame LOVE WITH. 4.4. The Parthenon in Athens

4 THE SITE DISTRICT...BEYOGLU

5.1. Location of Turkey in the world map 5.2. Location of Istanbul in Turkey 5.3. Location of Beyoglu in Istanbul

THE DISTRICT OF MY PROJECT SITE (4), BEYOGLU, IS ONE OF THE MOST IMPORTANT DISTRICTS OF ISTANBUL. IT WAS AN OPEN SPACE WITH CEMETERIES AND ORCHARDS UNTIL THE BEGINNING OF 19TH CENTURY. ITS PROXIMITY TO THE TRADE CENTER , GALATA, MADE BEYOGLU POPULAR AMONG FOREIGN PEOPLE LIVING IN ISTANBUL AND THEY SHAPED THE NEIGHBORHOOD IN A VERY EUROPEAN WAY . THE MOST STRIKING PART OF THE DISTRICT IS; PERA, WHICH REACHED ITS PEAK IN THE MID- TO LATE 19TH CENTURY. THE PLACE WAS A CENTERPIECE FOR ART NOUVEAU BELLE EPOQUE STYLE. FRENCH WAS SPOKEN, TOP HATS AND TAILS WERE REQUIRED IN THE NEIGHBORHOODS. TODAY, PERA WHICH IS ALSO KNOWN AS ISTIKLAL STREET OR TAKSIM AS WELL, STILL GIVES A TASTE OF ISTANBUL’S OLD DAYS. THE STREET IS A PEDESTRIAN STREET WHICH IS APPROXIMATELY THREE TO FOUR KILOMETERS LONG, IS COVERED WITH COBBLE STONE AND EVERYDAY IT HOSTS COUPLES WHO COME TO RELAX AFTER A LONG DAY, TOURISTS, YOUNG STUDENTS AND ANYONE WHO WANTS TO TAKE AN ENJOYABLE AND PEACEFUL WALK. THE PLACE IS AN INDISPENSABLE SPOT FOR THE PEOPLE OF ISTANBUL.

PERA IS AND HAS ALWAYS BEEN THE FOREIGN QUARTER AND THE SCENE FOR THE CITY’S BALLROOMS, THEATRES AND NIGHT LIFE. TODAY, THE STREET IS FULL OF NICE CAFE’S WITHIN COURTYARDS, RESTAURANTS, SHOPS, BOOKSTORES, MOVIE THEATRES AND MUSIC STORES. IT IS POPULAR AMONG PEOPLE OF ALL AGES AS EVERYBODY CAN FIND SOMETHING IN THIS STREET FOR THEIR TASTES. THE TRAM IS THE ONLY TRANSPORTATION ALONG THE STREET BUT IT IS ALSO A PLEASURE TO WALK FROM ONE END, TAKSIM SQUARE (1), TO THE OTHER, TUNEL(2).

THE REASONS WHY I WANTED TO WORK IN THIS NEIGHBORHOOD FOR MY THESIS: 1. ITS POPULARITY AMONG PEOPLE LIVING IN ISTANBUL. I WANTED TO DESIGN 5.4. Istiklal MY MUSEUM IN SUCH A FAVORABLE PLACE THAT PEOPLE WOULD EVEN street marked with red COME ACROSS TO THE BUILDING BY COINCIDENCE. 2. TO FOLLOW THE REALITY OF THE CITY ITSELF. BEYOGLU IS THE CULTURE & ENTERTAINMENT CORE OF THE CITY SO IT WOULD BE THE MOST SUITABLE PLACE TO DESIGN THE CITY MUSEUM FOR ISTANBUL. 3. THE PRESENT IMPROPER USAGE OF A PRECIOUS LAND. I WANTED TO GIVE THIS 5.5. Galata region PLACE BACK TO THE RESIDENTS OF THE CITY. and the tower 5.6. Pictures of Istiklal street that date back to early 1900’s 5 THE SITE N

MY THESIS SITE IS LOCATED PARALLEL TO FAMOUS PERA (PAGE #5) AND SURROUNDED WITH VALUABLE HISTORICAL BUILDINGS. I STARTED THE ANALYSIS OF MY SITE BY DETERMINING THE MAIN PEDESTRIAN ACCESS TO THE SITE WHICH 2 ALLOWED ME TO FIGURE OUT THE CRITICAL 1 POINTS. AS CAN BE SEEN CLEARLY ON THE RIGHT HAND SITE IT SHOWS THE CONNECTION BETWEEN MY SITE AND PERA WHICH IS A PASSAGE WAY THAT ALLOWS PEOPLE WALK THROUGH. THE STREET SURROUNDING MY SITE ON THE EAST IS OPEN 6.3. Historical picture of the site (The site is the green space) 4 TO CAR TRAFFIC WHICH CAN’T BE CONSIDERED A PRIMARY STREET. ON THE OTHER HAND, THE 3 WESTERN SIDE OF MY SITE HAS A HEAVY TRAFFIC AS THE ROAD DIES INTO A HIGHWAY. PERA PALACE REPRESENTED WITH # 3 ON THE ANALYSIS IS ONE OF THE MOST IMPORTANT 6.1. Insurance map of Pervititich showing my thesis site with number 53, first site analysis STRUCTURES OF ISTANBUL. IT IS A FAMOUS HOTEL 1926 USED TO BE KNOWN AS BEING THE FINAL STOP OF THE PASSENGERS OF THE FAMOUS ORIENT EXPRESS. ANALYSIS ALSO SHOWS THE LOCATIONS OF THE PREVIOUS BUILDINGS BUILT ON MY SITE.

MY SITE IS ALMOST EQUAL TO A SOCCER FIELD 6.4.The picture looking towards the street (site is on the left) AND DOESN’T HAVE A STEEP SLOPE; 6 METERS (9 FEET) FROM ONE END TO THE OTHER, BUT HAS CONSIDERABLE SLOPE DIFFERENCE WITH THE HIGHWAY; 10 METERS (30 FEET) ON THE SOUTHERN PART OF THE SITE WHERE PEOPLE CAN FIND STEEP STAIRS REACHING FROM THE PEDESTRIAN CURB OF THE HIGHWAY THROUGH MY SITE. THE AERIAL VIEW OF MY SITE AND THE SURROUNDING NEIGHBORHOODS CLEARLY SHOWS HOW DENSE THE CITY IS AND WITH ITS SIZE AND LOCATION HOW IMPORTANT MY PROJECT SITE IS. Closer look of the site and the neighborhood

6.2. The site and the dense appereance of the city 6 SITE PICTURES

1 2 3

10

4 9 4 5 1 2

7 8

3 5 6 6

7 8

910 7 WALLS SURROUND MANY THINGS...

BUILT AND REBUILT, CONQUERED, LOST, RECONQUERED, REESTABLISHED AND REGAINED, EMPIRE FOLLOWED EMPIRE, SULTAN FOLLOWED SULTAN. BUT THE HEARTBEAT OF ISTANBUL HAS REMAINED UNCHANGED.

The impression I wanted to give to people with my walls WHAT A LONG TIME ISTANBUL HAS TAKEN TO BECOME ITSELF! TO TAKEN HAS TIME ISTANBUL LONG A WHAT

A study for the connection of the walls Sketches regarding the possible entrance solutions Enclosed or disclosed by the wall...Which one is better?

8.1. The appereance of Pera 8 THE MAIN PERIODS OF ISTANBUL: 6 HISTORICAL LAYERS

1 THERE IS ONLY ONE CITY IN THE WORLD THAT SPANS TWO CONTINENTS; ISTANBUL. THE TRUE MERGING OF EAST AND WEST, ISTANBUL STRETCHES ACROSS BOTH EUROPE AND ASIA. THE CONTINENTS ARE SEPARATED ONLY BY A THIN STRIP OF WATER; THE BOSPHORUS. AMONG ALL THE BEAUTIES OF THE CITY, THERE ARE LAYERS OF DIFFERENT CULTURES ON TOP OF EACH OTHER. THROUGHOUT MY RESEARCHES, I CAME TO A POINT WHERE I DECIDED THAT THESE CULTURAL LAYERS SHOULD BE THE KEY POINT THAT I SHOULD PRESENT IN MY MUSEUM. DURING OUR DAILY LIVES, WE; THE RESIDENTS OF THE CITY, CANNOT REALIZE THIS AMAZING HISTORY AND SINCE EVERY NEW CULTURE IS CONSTRUCTED ON TOP OF THE PREVIOUS ONE, IT IS HARD TO MAKE A DISTINCTION BETWEEN THEM. AFTER GIVING THE DECISION OF THE POSSIBLE LOCATIONS OF MY WALLS IN THE SITE, MY NEXT STEP WAS TO MAKE THE CULTURAL DISTINCTION CLEAR IN MY DESIGN WHICH I LISTED AS; 1- GREEK PERIOD ( 7TH CENTURY); 2 WHAT IS NOW CALLED ASIAN ISTANBUL WAS PROBABLY INHABITED BY PEOPLE AS EARLY AS 3000 B.C. IN THE 7TH CENTURY; GREEK COLONISTS LED BY KING BYZAS, ESTABLISHED THE COLONY OF BYZANTIUM; THE GREEK NAME FOR A CITY ON BOSPHORUS. EVEN THOUGH THERE IS NOT MUCH LEFT FROM THE GREEK PERIOD IN ISTANBUL TODAY, SOME STRUCTURES CAN STILL BE OBSERVED AND THIS PERIOD WAS THE START FOR THE LONG STORY OF THE CITY. 2- BYZANTIUM PERIOD ( 306 AD- 1453) IN THE EARLY 100’S BC, THE CITY BECAME PART OF THE ROMAN EMPIRE AND IN 306 AD, EMPEROR CONSTANTINE THE GREAT, MADE BYZANTIUM A PART OF THE ROMAN EMPIRE. FROM THAT POINT ON, THE CITY WAS KNOWN AS CONSTANTINOPLE. THE ATTRIBUTE THAT MADE THE CITY SO DESIRABLE, ITS INCOMPARABLE LOCATION FOR TRADE AND TRANSPORT BETWEEN THE CONTINENTS, WAS ALSO ITS DANGER. FOR THE NEXT SEVERAL HUNDRED YEARS, PERSIANS, ARABS, NOMADIC PEOPLE AND MEMBERS OF THE FOURTH CRUSADE (WHO FOR A TIME ALSO GOVERNED THE CITY) ATTACKED CONSTANTINOPLE. THE BYZANTIUM PERIOD LEFT THE CITY SO MANY DELICATE TREASURES AT THE END. 3- OTTOMAN ( 16TH CENTURY) PERIOD IN 1453, WEAKENED BY ALMOST A CONSTANT BATTLE, THE OTTOMAN TURKS CONQUERED CONSTANTINOPLE. RENAMED ISTANBUL, IT BECAME THE THIRD AND LAST CAPITAL OF THE OTTOMAN EMPIRE. IT WAS THE NERVE CENTER FOR MILITARY CAMPAIGNS THAT WERE TO ENLARGE THE OTTOMAN EMPIRE DRAMATICALLY. BY THE MID 1500’S, ISTANBUL, WITH A 3 4 POPULATION OF ALMOST HALF A MILLION, WAS A MAJOR CULTURAL, POLITICAL, AND COMMERCIAL CENTER. THE 16TH CENTURY IS THE MOST REMARKABLE PERIOD OF THE EMPIRE BY ALL MEANS. IT CAN BE SAID THAT THE CITY WAS UNDER THE FRENCH AND THE ART NOUVEAU EXPRESSION ON THE EUROPEAN SIDE AS WELL AS BEING CONSISTENT WITH ISLAMIC ARCHITECTURE IN THE REST OF THE CITY. IT WAS SULTAN SULEYMAN THE MAGNIFICENT HOWEVER, WHO BROUGHT THE OTTOMAN EMPIRE TO ITS PEAK. THE FOURTH OTTOMAN SULTAN TO REIGN, FROM 1520 UNTIL 1566, HE PRESIDED OVER THE MOST POWERFUL STATE IN THE WORLD. A REMARKABLE MILITARY STRATEGIST, HE MORE THAN DOUBLED THE OTTOMAN LAND HOLDINGS HE INHERITED FROM HIS FATHER. HE ALSO BROUGHT A PROFUSION OF ELEGANT MOSQUES, BATHS, SCHOOLS, FOUNTAINS BY THE HELP OF SINAN THE REAT ARCHITECT. 4- OTTOMAN (19TH CENTURY) PERIOD AFTER THE DEATH SULEYMAN THE MAGNIFICENT, THE OTTOMAN EMPIRE STARTED TO TEAR APART. ON THE OTHER HAND, THE 19TH CENTURY WHICH IS THE LAST PERIOD OF THE EMPIRE, HAS LEFT MAGNIFICENT ISLAMIC STRUCTURES SUCH AS THE BLUE MOSQUE TO THE CITY. THE BREATH TAKING SKYLINE OF ISTANBUL WITH THE MINARETS ALL OVER THE CITY HAS MOSTLY ESTABLISHED IN THE 19TH CENTURY OTTOMAN PERIOD. 5- TURKISH PERIOD 5 UPON SULEYMAN’S DEATH, THE GRADUAL DECLINE OF THE OTTOMAN EMPIRE BEGAN, FINALLY ENDING COMPLETELY THREE HUNDRED YEARS LATER IN 1924 KEMAL ATATURK FOUNDED THE REPUBLIC OF TURKEY AFTER LONG BATTLE WITH THE FRENCH, GERMAN AND BRITISH. ISTANBUL, LOST ITS CHARACTER OF BEING THE CAPITAL CITY, AFTER THE TURKISH REPUBLIC. BETWEEN 1930 AND 1970, THE CITY SERVED AS A COMFORTABLE RESIDENTIAL DISTRICTS WHICH THE HOUSES WERE MOSTLY WOOD STRUCTURES. AFTER 1980S, HOWEVER, ISTANBUL HAD STARTED TO BE MORE ACTIVE IN COMMERCIAL AND ENTERTAINMENT ACTIVITIES WHICH BROUGHT NEW CHANGES TOGETHER TO THE CITY. 6- CONTEMPORARY PERIOD EVEN THOUGH THIS PERIOD IS STILL PRESENT WITHIN THE TURKISH PERIOD, I SPARED A SPECIAL SECTION FOR THE CULTURE OF ISTANBUL AFTER 1980’S. THE FAST CHANGES IN THE CONSTRUCTION BROUGHT A NEW STYLE TO THE CITY SUCH AS THE SKYSCRAPERS RISING NEXT TO THE MOSQUES WHICH THE CITY WAS MOSTLY FAMOUS FOR. THE STEEL STRUCTURES HAD TAKEN THE PLACE OF THE WOOD AND ELEGANT HOUSES. 6 1- GREEK PERIOD (GREEK COLUMN) 2- BYZANTINE PERIOD (HAGIA SOPHIA) 3- OTTOMAN 16TH CENTURY PERIOD (ART NOUVEAU STYLE RESIDENTIAL HOUSE) 4- TURKISH PERIOD (TRADITIONAL TURKISH STYLE RESIDENTIAL HOUSE) 9 5- OTTOMAN 19TH CENTURY PERIOD (BLUE MOSQUE) 6- CONTEMPORARY PERIOD ( SKYSCRAPERS OF ISTANBUL) THE PROGRAM

The wall did well for men, in its thickness and its strength. It protected him against destruction. But soon, the will to look out made man make a hole in the wall, and the wall was very pained, and said; “What are you doing to me? I protected you; I made you feel secure and now you put a hole through me!” And man said; “ But I will look out! I see wonderful things, and I want to look out!” And the wall still felt very sad. Later, man didn’t just hack a hole through the wall, but made a discerning opening; one trimmed with fine stone, and he put a lintel over the opening. And soon, the wall felt pretty well.5

Louis I Kahn Conversations with students

early considerations of inside-outside wall to wall relations relationship of walls

I DECIDED TO PRESENT SIX DIFFERENT PERIODS OF THE CITY WHICH I CAME ACROSS THROUGH OUT MY RESEARCHI THE PERMANENT EXHIBITIONS, CONCERNING THE HISTORY OF ISTANBUL. I ALSO IMAGINED THE BUILDING HAVING TEMPORARY EXHIBITIONS AND AN AUDITORIUM WHERE PEOPLE COULD ORGANIZE SPECIAL MEETINGS.

first sketches showing the concern of the wall-human relation combining the classic and the modern together the conditions that I wanted to see 10 THE WALL AND THE SITE

...you ( can not) just copy the original architecture but you do have to understand it. The old builder knew there were critical points; the cornice, window, plinth, steps...The same places as always concerned the builders in the past. The problems involved are the same as ever; only the answer changes.6 Carlo Scarpa, 1978

The model of the perpendicular walls The appereance of the walls with withe the auditorium the surrounding buildings and their being close to the scale of them. The section of the walls located on two different sides of the site with the slope.

The shadows of the walls and the possible effects of them on the street Study model for the entrance to and the buildings. the site

The study of the orientation of the walls the impact of different wall types

The plaza Asia Europe Auditorium

The study of the possible connections of the walls...

The orientation of the walls with the possible open and The idea of dividing the city into 3 closed spaces different parts like the city itself 11 DISTRICTS OF ISTANBUL Besiktas district Sisli district Uskudar district

Kadikoy district Beykoz district Eyup district Princess Islands

Eminonu district

Collage summarizing the periods of Istanbul Kasimpasa district

AFTER DEFINING THE SIX MAIN PERIODS OF THE CITY, I STARTED TO THINK ABOUT THE WAY TO REPRESENT THEM IN MY WALLS. I HAD TO MAKE A CONNECTION BETWEEN THE CULTURAL LAYERS AND THE ORIENTATION OF MY WALLS. Sariyer district AS I GREW UP IN THE CITY, I STARTED TO THINK ABOUT OUR DAILY LIVES AND FOUND OUT THAT OUR DISTRICTS IDENTIFY US. WITH A Fatih district POPULATION OF 10 MILLION, PEOPLE TO FIND THE RIGHT DISTRICT FOR THEMSELVES AND BE A PART OF IT.

AFTER FIGURING THIS OUT, I STARTED RESEARCHING THE MOST IMPORTANT DISTRICTS OF ISTANBUL. IT WAS IMPOSSIBLE FOR ME TO INCLUDE ALL THE PRESENT ONES, SO I PICKED UP THE ONES THAT HAD A BIG IMPACT ON THE HISTORY OF ISTANBUL. THE NUMBER THAT I CAME OUT WITH WAS THIRTEEN (13). SO; AFTER THE IDEA OF THE WALL AND THE SIX DIFFERENT PERIODS , I HAD ANOTHER KEY ON MY HAND; THE THIRTEEN MAIN DISTRICTS OF THE CITY. Galata district Beyoglu district

THE IMPORTANT QUESTION WAS HOW TO INTERPRET THESE DISTRICTS INTO MY DESIGN. FOLLOWING MY INTENTION OF USING MY SITE AS A MAP I ALSO CLASSIFIED THE DISTRICTS INTO TWO GROUPS; THE DISTRICTS OF ASIA AND THE DISTRICTS OF EUROPE. TOGETHER WITH THIS DECISION, FINALLY I FIGURED OUT THE NUMBER OF THE WALLS I SHOULD USE IN MY DESIGN AS WELL. THE NUMBER OF THE DISTRICTS AND THE NUMBER OF THE WALLS SHOULD BE SAME, AS THIS WOULD HELP ME TO EXPLAIN THE REALITIES OF ISTANBUL TO PEOPLE. MY THESIS IS A CITY MUSEUM FOR ISTANBUL. SHE HAS SEVERAL LAYERS OF Asia (4 walls) 13 main districts of Istanbul; Europe ( 9 walls) CULTURE. MY AIM IS TO COLLECT THE HISTORY AND beykoz uskudar ARCHITECTURE OF THE CITY IN sariyer kadikoy princess islands MY DESIGN. sisli beyoglu besiktas eminonu THE MOST IMPORTANT POINT kasimpasa galata OF THE BUILDING SHOULD First studies of locating BE ITS ABILITY TO TALK fatih the districts in the ABOUT THE CITY. eyup site. 10/23/2003 12.1 Districts of the city and the locations 12 WALLS HAVE FEELINGS

Th AFTER GIVING MY DECISION OF USING THIRTEEN WALLS AND SIX MAIN PERIODS OF THE CITY, I FOUND ANOTHER IMPORTANT ASPECT FOR MY CONCEPT; THE MATERIALS. I SHOULD BE ABLE TO REPRESENT MYDIFFERENT WALLS WITH DIFFERENT MATERIALS AS EVERY CULTURAL LAYER IN THE CITY HAS MADE A DIFFERENT IMPACT TO THE APPEARANCE OF ISTANBUL. IN ADDITION TO THIS, THE MATERIALS COULD HELP ME TO MAKE PEOPLE FEEL THE POWER OF MY WALLS . Figure 1. Study model of the walls Figure 2. The walls with different materials Figure 3. Different materials on adjacent walls

MY STUDY MODELS OF THE WALLS IHELPED ME TO REALIZE HOW TO ARRANGE THEM IN THE SITE.

THE MATERIALS OF ISTANBUL

6 AS I RESEARCHED MORE ABOUT THE MATERIALS, I STARTED TO GET EVEN MORE EXCITED TO EXPLAIN THE STORY OF THE CITY BY PLAYING WITH THEM. ISTANBUL WITH ALL THE LAYERS SHE HAS, GAVE ME MANY CHOICES FOR MY DESIGN. AS I WANTED TO BE AS CLEAR AS POSSIBLE IN MY DESIGN, I HAD TO MAKE A GOOD DISTINCTION BETWEEN THEM AND I SHOULD BE ABLE TO CONNECT THEM IN THE RIGHT WAY.

4 SINCE I HAD SIX DIFFERENT PERIODS TO TALK ABOUT IN MY DESIGN, I WANTED TO PICK THE MOST IMPORTANT MATERIALS OF THESE LAYERS. THE FIRST PERIOD IN ISTANBUL’S HISTORY WAS THE GREEK PERIOD SO, I PICKED THE FAMOUS GREEK MARBLE TO REPRESENT IT. (FIGURE 1) THIS PARTICULAR TYPE OF MARBLE WAS ALSO USED IN PARTHENON AND THE MONUMENTS OF THE GREEK PERIOD IN THE CITY HAVE THIS MATERIAL. 1 BYZANTIUM PERIOD AS BEING THE SECOND PERIOD IN THE HISTORY WAS FAMOUS WITH ITS MARVELLOUS MOSAICS AND I DECIDED TO USE THIS MATERIAL IN MY WALLS.(FIGURE 2) MY THIRD WALL IS THE OTTOMAN 16TH CENTURY PERIOD WHICH WAS FAMOUS WITH MAGNIFICENT MOSQUES, DESERVED TO BE REPRESENTED BY ITS FAMOUS BLUE TILES. (FIGURE 3) 2 THE FOURTH PERIOD WAS THE OTTOMAN 19TH CENTURY PERIOD, THAT INFLUENCED THE CITY BY THE FRENCH ART NOUVEAU, SHOULD BE EXPLAINED BY THE 5 STONE. (FIGURE 4) THE FIFTH PERIOD , WHICH I NAMED THE TURKISH PERIOD WAS THE TIME WHEN THE BEAUTIFUL WOODEN RESIDENTAL HOUSES WERE BUILT SO IT SHOULD BEREPRESENTED BY WOOD. ( FIGURE 5) FINALLY, THE LAST PERIOD AS BEING THE CONTEMPORARY PERIOD OF ISTANBUL, WITH ITS HIGH RISE BUILDINGS SHOULD BE ABLE TO TALK ABOUT THE NEW AND MODERN FACE OF THE CITY, BASICALLY THE NEW MATERIAL OF THE MODERN WORLD; STEEL.

THESE SIX SIGNIFICANT MATERIALS WOULD ALL REPRESENT A PARTICULAR TIME OF THE CITY BUT WHAT SHOULD BE THE MAIN MATERIAL OF THE BUILDING? 3 CONCRETE AND BRICK ARE THE MATERIALS I HAD CHOSEN FOR THIS DECISION. CONCRETE COULD EXPRESS MY MASSIVE AND GIANT WALLS IN THE BEST WAY. BRICK, WHICH IS A CONNECTOR BETWEEN THE PAST AND THE FUTURE FOR ME, IT SHOULD POP IN MY DESIGN AS THE SECONDARY MATERIAL.

NEXT STEP; THE ORIENTATION OF THE WALLS...

13 THE SITE AS A MAP

IMPORTANT POINTS THAT I HAD TO COMBINE IN MY DESIGN;

* THE WALL AS A POWERFUL INDICATOR OF THE CITY ITSELF * THE NUMBER 13 REPRESENTING THE THIRTEEN MAIN DISTRICTS OF THE CITY * THE SIX IMPORTANT PERIODS OF ISTANBUL * THE SIX DIFFERENT MATERIALS EACH OF WHICH INDICATING ONE PERIOD OF THE CITY * AN IMPORTANT LOCATION AS A SITE WHICH WILL REPRESENT THE DIVISION OF ISTANBUL OR IN OTHER WORDS TO USE THE SITE AS A MAP.

THROUGHOUT MY DESIGN, I ALWAYS TRIED TO BE VERY CAREFUL AND RESPECTFUL TO THE CITY IN EVERY SINGLE DETAIL THAT I HAD USED. THE WAY I ORIENTE THE WALLS SHOULD HAVE A STRONG MEANING.SO I PLACED THE MAP OF THE CITY IN THE BACKGROUND PLACEDMY SITE PROPERLY THEN STARTED TO PLAY WITH MY 13 MAIN WALLS. I PLACED FOUR WALLS OF THE ASIAN SIDE FIRST AND THEN NINE WALLS OF THE EUROPEAN SIDE. THE SEA WAS FLOWING IN BETWEEN. FINALLY I ROTATED THE WALLS IN SUCH A WAY THAT ALL OF EACH WOULD POINT ONE SPECIFIC DISTRICT FROM MY SITE.

Figure 1. Study model of the walls for the location decision

Figure 5. The section showing the walls on the Asian and the European side

Figure 2. Wall orientation studies

Figure 7. The separation of the districts of the Asia and the Europe continent Figure 3.Sketches showing the rotation of the walls Figure 4. Collage showing the walls pointing districts 14 THE SITE AS A MAP 15.1. The 13 important districts and my walls pointing them

THIS DYNAMIC ORIENTATION PERFECTLY MATCHED WITH THE SPIRIT AND APPEARANCE OF ISTANBUL.THE WALLS WOULD CREATE CURIOSITY AND COULD GIVE SO MANY DIFFERENT ARCHITECTURAL DETAILS AND SATISFACTION WITH THIS PLAN.

15.2. The view of Bosphorus towards Europe side

MARMARA SEA

15.3. The view of Bosphorus towards the European side

15 THE SITE AS A MAP

I DECIDED TO USE THE EUROPEAN SIDE OF THE CITY WHICH I REPRESENTED WITH 9 WALLS AS THE ACTUAL MUSEUM PART. THE ASIAN SIDE WOULD BE LEFT AS THE RECREATIONAL PART OF MY DESIGN. THE REASON FOR THAT WAS THE ACTUAL APPEARANCE OF THE CITY ITSELF. EUROPE WITH ITS COMMERCIAL, EDUCATIONAL AND ENTERTAINMENT ACTIVITIESIS ALWAYS THE HEART BEAT OF ISTANBUL. ON THE OTHER HAND, ASIA IS MORE RESIDENTIAL AND COVERED WITH GREEN SPACES DESERVED TO BE REPRESENTED AS GREEN AS POSSIBLE.

Comparison of the walls plain and with materials attached to them.

European side and its 9 walls

Impression of the walls with different materials.

Study model that shows the orientation and the connections of the walls. Walls are giant when compared with human scale.

A great building must begin with the measurable, must go through measurable means when its being designed and in the end must be unmeasurable.8 Louis Kahn

16 NAMING THE WALLS

17.1. The section of the actual city walls

Site plan

17.3 City walls

Our duty is to preserve what the past has had to say for itself, and to say for ourselves what shall be true for the future.

John Ruskin

Inside the walls Flow inside the museum

17.2 City walls

sketches concerning how to fulfill the walls 17 INSIDE THESE WALLS

ACTUAL CITY WALLS WERE NOT ONLY USED FOR DEFENSE PURPOSES BUT THEY WERE ALSO BEING OCCUPIED FOR DIFFERENTFUNCTIONS. AS IT WAS MY CHALLANGE TO MAKE MY WALLS TALK I DECIDED TO USE INSIDETHE WALLS AS MY MUSEUM.THIS DECISION CREATED TWO SCALES IN MY DESIGN; MAIN WALLS THAT I USE TO DEFINE THE DISTRICTS AND THE PERIODS AND THE TWO WALLS THAT MAKE UP THE MAIN ONES.

18 INSIDE THESE WALLS

walls as inhabitable spaces

MY WALLS SHOULD BE THE VOICE OF MY CITY; POWERFUL, MYSTICAL, EXCITING AND ATTRACTIVE JUST LIKE ISTANBUL ITSELF. THE RENDERINGS ARE MY TRIALS OF DIFFERENT MATERIAL COMBINATIONS. IN ADDITION TO THIS, THEY ALSO GAVE ME A GOOD SENSE OF WHAT PEOPLE MIGHT FEEL BETWEEN the space within becomes the reality of the building...11 THESE WALLS.. frank lloyd wright 19 INSIDE THESE WALLS 1

Foam model showing the massiveness of the walls

20.1.Walls of Galata Watercolor study showing inside the walls

Architecture began like every kind of writing; it was at first alphabetic...When stone was plenty and a vast space; phrase was written... Then came books; symbols from traditions... When symbols went increasing, multiplying, crossing and complicating more& more; the early monuments no longer could contain them, overflowed by all sides and they expand into edifice.10 Victor Hugo 20 RESPONSIBILITIES OF THE WALLS 1. SERVICE WALL; THIS WALL IS HOLDING THE NECESSARY SERVICE REQUIREMENTS LIKE THE RAMP, ELEVATORS AND RESTROOMS. IT ALSO ALLOWS THE VISITORS TO ENTER THE MAIN ENTRANCE COURTYARD WHICH WILL HAVE A SKYLIGHT ROOF ON TOP. 2. GREEK PERIOD WALL; THE GREEK PERIOD WALL, IS THE FIRST PERIOD OF THE SIX MAIN LAYERS THA’S WHY I LOCATED IT IN THE FIRST WALL THAT WILL WELCOME PEOPLE IN THE MAIN Connector COURTYARD AREA. IT HAS TWO EXITS; ONE TO THE CONNECTOR WALL, THE OTHER wall Contemporary Service IS TO THE BYZANTINE PERIOD WALL WHICH IS THE SECOND OF THE SIX MAIN PERIODS. period wall wall 3. BYZANTINE PERIOD WALL; Greek 8 THE SECOND PERIOD OF THE SIX MAIN LAYERS, IS IDEALLY TAKING THE PEOPLE IN period wall 2 FROM THE GREEK PERIOD. WHICH MEANS THAT IF PEOPLE CHOSE TO SEE THE WHOLE EXHIBITION, THEY WILL WALK TOWARDS THE BYZANTINE PERIOD AND THE GREEK WALL WILL BECOME THE BYZANTINE WALL. 1 5 4. OTTOMAN 16TH CENTURY WALL; 9 7 THE THIRD WALL OF THE SIX PERIOD IS THE 16TH CENTURY TTOMAN PERIOD. THE BYZANTINE PERIOD IS BRINGING THE PEOPLE FROM THE 2ND PERIOD TO THE THIRD Ottoman 19th WITH THIS INTENTION. century wall 6 4 5. OTTOMAN 19TH CENTURY WALL; 3 THE PERIOD FOLLOWING THE 16TH CENTURY PEIOD IS THE 19TH CENTURY OTTOMAN PERIOD WHICH IN MY DESIGN THE WALLS ARE EVENTUALLY BRING YOU FROM ONE TO THE OTHER PERIOD. 6. TURKISH PERIOD; THE TURKISH PERIOD FOLLOWING THE 19TH CENTURY OTTOMAN PERIOD, IS GOING TO BE REPRESENTED IN THE NEXT WALL THAT IS ACCESSIBLE FROM THE CONNECTOR WALL RIGHT BEFORE THE CONTEMPORARY PERIOD WALL. 7. CONTEMPORARY PERIOD WALL’ Turkish period THE SIXTH PERIOD OF ALL, IS THE CONTEMPORARY PERIOD IS IS RIGHT AFTER THE wall TURKISH PERIOD AND BEFORE THE SECOND SERVICE WALL OF THE MUSEUM. 8. SERVICE WALL: Byzantine period Ottoman 16th THE SECOND SERVICE WALL IS FOR THE SECOND ENTRANCE OF THE MUSEUM wall century wall SERVING FOR THE SAME PURPOSE OF THE FIRST WALL. 9. CONNECTOR WALL; Service THE CONNECTOR WALL IS ONE OF THE CRUCIAL PARTS IN MY DESIGN. EVEN wall THOUGH IT DOESN’T REPRESENT ANY OF THE SPECIFIC PERIODS IT IS CONNECTING ALL THE OTHER WALLS AND PERIODS TO EACH OTHER WHICH GIVES THE CHANGE OF LEAVING THE MUSEUM FROM EITHER ENDING OF THE MUSEUM WHENEVER THEY FEEL LIKE IT. IT IS THE LONGEST WALL OF ALL AND IT DEIVIDES THE WALLS INTO TWO DIFFERENT PARTS MOST OF THE TIMES.

21 THE FLOW OF THE WALLS

Study model regarding the construction of the building and how to span the walls above and below each other.

Courtyard divisions between the walls

Perspective of the connector wall

Openings on the walls looking to the courtyards and the models that are exhibited in them. 22 THE PLAZA AND THE ENTRANCE

Europe Asia 23.1 Turkish houses

Plaza

Site plan Plaza sketches and the main entrance wall to the plaza

23.2 Bridge and Bosphorus

Light tubes on the plaza that allows light into the basement floor where Asia and Europe connects to each other The first wall on the Asian side, green at the back can be seen through the openings 23.3 City during the night

23 THE FIRST STOP IN THE JOURNEY OF THE CITY C B

Service wall Cafeteria

Turkish house

Auditorium

Greek wall Service wall

Plaza Turkish

A Contemporary A The shadows of the walls Ottoman 19th century Byzantine wall Ottoman 16th century

C B Ground Floor Plan Walls have the responsibility of presenting everything First semester model

Northwest Elevation 24 THE CONNECTION C B

Offices

Conference room

The open joist beams connecting the floors Section B-B Connection to Asian side

A A

Section C-C Basement Plan The plaza and the conference room.

C B The basement floor is the second connection to the Asian side from the European side of my museum. Offices and conference rooms are also located in the lower floor plan where continuous light tubes help to get light into.

Thesection of the museum is emphasizing the lines of the walls and the whole structure is as massive as possible. The building is concrete, as concrete emphasizing the plainness. Section A-A 25 THE CONNECTION

Stairs leading to the plaza

The model could stay still even without the glue as walls The pool and the light tubes surpass each other...

Plaza stair-wall connection

Light tubes in the plaza

Overview of the plaza and the street exhibition space...

The connection of the service wall, entrance hall, Greek The pool and the light tubes and the Byzantium period.

Secondary entrance of the museum area. 26 WHAT WALLS WANT TO SAY...

the construction methods of vaulted ceilings

the perspective shows the inside appereance of the inbetween space of my walls...

AFTER THE FIRST SEMESTER, I DECIDED TO GIVE MORE CHARACTER TO INNER SPACE PLANNING OF MY MUSEUM WITH THE DETAILS FROM THE CITY.

the initial thoughts about the ceiling... 27 The use of two different wall types on each side of the periods... WHAT WALLS WANT TO SAY

How to support the vault with the beam and the bricks The I beam and the materials attached to my walls.. 28 WHAT WALLS WANT TO SAY

Rendering of the concrete wall- vaulted ceiling connection..

Early sketches regarding the use of two different materials in the walls.

the openings...

how to make walls talk... the drawing shows the panels attached to the wall I beam- brick-concrete and mechanical system of my building... telling about the city... 29 LAYERS OF THE WALLS

* THE MAIN ENTRANCE IS LOCATED SERVICE WALL ON THE SERVICE WALL AND TAKES PEOPLE IN FROM THE PLAZA. * MAIN COURTYARD IS THE ONLY Auditorium COVERED COURTYARD OF THE Cafeteria Turkish house MUSEUM AREA. * THE THICKNESS OF EACH WALL IS Ottoman 16th century AS FOLLOWS: -SERVICE WALLS: 5M (15’) -GREEK, BYZANTINE, OTTOMAN 16TH AND 16TH CENTURY, TURKISH AND CONTEMPORARY WALLS: 4 M (12’) -CONNECTOR WALL: 3 M (9’) * RED LINES IN THE DRAWING Greek wall SHOWS THE PREFERABLE FLOW OF THE MUSEUM. BUT JUST LIKE Main Entrance ISTANBUL ITSELF THERE IS NO FORCE AND CERTAINTY IN THE PATHWAYS.

Secondary entrance Main courtyard

Models CONTEMPORARY

Ottoman 19th century Byzantine Wall

Ottoman 16th century Service wall

29.1 Layers of the wall in Roman Empire

30 TWO DIFFERENT SCALES OF THE WALL

MY WALLS HAVE 2 DIFFERENT SCALES. THE FIRST IS THE WAY THEY APPEAR IN THE PLAN, THE SECOND concrete IS THE ONE THAT IS EXPERIENCED INSIDE THE WALLS. I DECIDED brick

TO KEEP ONE OF THEM concrete PLAIN CONCRETE, PREFERABLY THE stone ONE THAT WILL BE HOLDING THE SERVICE FUNCTIONS SUCH AS THE STAIRS vaulted brick ceiling AND ELEVATORS, AND THE OTHER ONE WILL BE ORNAMENTED WITH MATERIALS ATTACHED TO CONCRETE. I beam

concrete wall ornamented wall Section of the wall showing two different sides of the wall

30.1 Walls talk 30.2 Representation of the construction of the wall section cutting through one of my walls and showing the vaulted ceiling and the openings... 31 TWO DIFFERENT SCALES OF THE WALL

installing two different materials on top of each other

perspective showing the two different scales of the walls...

sitting spaces in the walls (plan)

True ornament is not concrete holding brick a matter of with pedestals and creating exhibition horizontal prettifying spaces externals...it is organic with the structure it adorns, whether a person, a tables installes in the wall building, or a park. (designed for the connector at its best it is an wall- cafeteria area) emphasis of structure, a realizatin in graceful terms of the nature of that which is ornamented.

the height of the the locating of the concrete pedestals and sitting how to install glass spaces in the walls frank lloyd wright in massive walls pedestals and brick together (elevation) 32 PARTS OF THE MASTER PLAN; THE SCAFFOLD AND THE AUDITORIUM

32.3. Roman wall with holes

32.6. Wall construction techniques

32.1. Roman scaffold techniques

32.4. Roman wall section

32.2. Roman scaffold

THE ASIAN SIDE BEING MORE RESIDENTIAL AND HUMBLE COMPARED TO THE EUROPEAN SIDE, I DECIDED TO LEAVE IT Sketches of the plaza AS A GREEN SPACE.THE SCAFFOLD...THE PATHWAYS... 32.7 Sketches concerning the construction of the auditorium dome. GLASS FLOORING THAT WOULD LET PEOPLE VIEW THE The dome aims to remind the domes of the beautiful mosques 32.5. Stone carriying techniques GREEN UNDER THEIR FEET. of Istanbul. 33 IDENTIFICATION OF THE WALLS THE POWER OF THE WALLS CAN BE SEEN IN THE SECTIONS AND IN THE SITE PLAN. THE SCAFFOLD ON THE ASIAN SIDE AND THE HALLWAYS ON THE EUROPEAN SIDE GIVES THE IMPRESSION OF THE ACTUAL CITY WALLS. VAULTED CEILINGS OF EACH FLOOR AND THE CHANGE IN MATERIALS. THE OPENINGS, THE THICKNESS OF THE WALLS AND THE HEIGHT OF THE FLOORS ARE ALL SERVING FOR THE PUPOSE OF TELLING THE STORY OF THE CITY...

B B

Site Plan

Section B-B Coutyard Section Greek Period Section 34 IDENTIFICATION OF THE WALLS

Section D-D Byzantine period

Section F-F Greek period

CONCRETE IS NOT TOTALLY HIDDEN IN THE ORNAMENTED WALL, IN ORDER TO HOLD THE STEEL IT POPS OUT AND THE WALL AGAIN TALKS ABOUT THE REAL APPEREANCE. THE ROOF IS OPEN TO VISITORS AND AS IN THE LOWER FLOORS , THE WALKWAY IS CREATED BY THE INTERSECTION OF THE WALLS. THE BALCONIES WHICH IS SEEN ON THE LEFT SECTION WILL WILL DISAPPEAR AS ON THE RIGHT SECTION, AS THE BALCONIES WERE DISTURBING THE COURTYARDS. Section C-C 35 Byzantine period IDENTIFICATION OF THE WALLS

35.1 Land walls inside the city

Section E-E Greek period

35.2 Historical city surrounded by the walls Section A-A Greek period

36 THE JOURNEY INSIDE AND OUTSIDE OF THE WALLS

scaffold

light tubes courtyard courtyard courtyard courtyard

Section B-B

EUROPEAN SIDE ASIAN SIDE THE SEA

G H

A E AFTER THIS POINT, I STARTED TO FOCUS ON F D THE DETAILS OF MY PROJECT. JUST LIKE C F ISTANBUL ITSELF, MY MUSEUM HAS TO HIDE THE BEAUTIES IN ITS DETAILS.

A E B B

D C G H

The study of the stairs on the Asian side of the design and the service ramp adjacent to the European side can be seen in the site plan. 37 THE JOURNEY INSIDE AND OUTSIDE OF THE WALLS The section shows the Greek period. The floor heights change according to the need and to surprise the visitors by the differet effects of the wall. The openings on the walls allow people to view outside, especially the courtyards ideally connected to the periods.

The Byzantine period by the mosaic attached on concrete carries the earliest times of Section B-B the city into the present.

Partial section C-C

Early sketches showing the close representation of final design regarding the appereance of the walls one after the other.

The perspective describing inside of the walls and the Section A-A floor connected to it. The section showing the concrete side of the Byzantine wall holding the staircases and the great deal of the openings. 38 THICKNESS OF THE WALLS

The thickness of the walls and the concrete piece holding the materials representing the different materials on each wall get thicker.

The way two walls connect each other. At the intersection, a piece of glass is inserted which also will allow visitors to see that something is changing in their journey by viewing the next wall.

The study regading the way to attach the materials on to concrete.

Sketches showing the openings reserved for exhibitions and for the usage of the visitors inside the walls.

39 THICKNESS OF THE WALLS

ORNAMENTED WALL MASSIVE WALL

THE SIDE OF THE WALL CONSISTS OF THREE THAT HOLDS ALL THE LAYERS BRICK ON THE SERVICE FUNCTIONS OUTSIDE, CONCRETE AS . AS CAN BE SEEN CLEARLY THE REAL STRUCTURE IN IN THE DRAWING AS WELL THE MIDDLE AND THE , THE STAIRCASE IS INSERTED MATERIAL SHOWING INSIDE THE CONCRETE IN THE PARTICULAR PERIOD . THISWAY THE WALL IS ON THE INSIDE. , SERVING FOR A PURPOSE THE MATERIALS AS AND TURNS OUT TO BE AN MENTIONED EARLIER ACTIVE CURATOR OF THE ACCORDING TO THE MUSEUM PERIOD ARE AS FOLLOWS; . The auditorium stands free from the walls.

GREEK PERIOD: MARBLE BYZANTINE P.: MOSAICS OTTOMAN 16TH C.: BLUE TILE OTTOMAN19TH C.: STONE TURKISH P.: WOOD CONTEMPORARY P.: STEEL

Office areas on the basement floor.

Stair and concrete connection

Installation detail of copper in the conector wall

The secondary entrance of the museum Turkish house and the spiral stairs 40 THE FINAL SHOW...WALLS TALK

41 THE FINAL SHOW...WALLS TALK

SECOND BASEMENT PLAN

42 THE FINAL SHOW....WALLS TALK

FIRST BASEMENT PLAN -4.00

43 THE FINAL SHOW....WALLS TALK

FIRST FLOOR PLAN 0.00

44 THE FINAL SHOW....WALLS TALK

SECOND FLOOR PLAN +4.00

45 THE FINAL SHOW....WALLS TALK

THIRD FLOOR PLAN +8.00

46 THE FINAL SHOW....WALLS TALK

47 THE FINAL SHOW....WALLS TALK

48 DETAILS OF THE CITY

SECTION A-A

49 DETAILS OF THE CITY

Section through the Greek wall looking towards the concrete side....The stairs with the semi-transparent wall, brick attachment and the courtyard openings are visible through this section... 50 DETAILS OF THE CITY

SECTION C-C

* Walls on the plans and the sections are represented by the gold color on the defense day to show the massiveness of the wall ad allow them to say one more word of its city; Istanbul. 51 DETAILS OF THE CITY

Ramp inside the wall and the height of the basement floor The openings on the wall

Ramp on the cafeteria Floor between the concrete 52 DETAILS OF THE CITY

Thickness of the walls The responsibility of concrete Two different sides of the wall and the stair connection 53 DETAILS OF THE CITY

The scale of the brick and the metal brick ties. The ties are in the shape of the star and the moon which is the flag of Turkey.

The way the walls surpass each other on the roof which is accessible to visitors. Copper used in the connector wall. The material represents aging Elevator walls and the vaulted ceilings. The stair with the semi-transparent and the connector wall connects all the ages of the city. wall attached to it. 54 DETAILS OF THE CITY

Ceiling and semi transparent wall connection

Copper on the exterior facade of the connector wall with the ramp Brick concrete and the floor connection emi-transparent wall and floor connection

Stair concrete and the step-semi-transparent wall connection

Typical section of the wall Metal brick ties

The plaza Stairs on the exterior facadeof the wall looking through the courtyard 55 DETAILS OF THE CITY

19*19*5 19*19*5 standard brick standard brick 19*19*5 standard brick

metal brick tie metal brick tie metal brick tie

2 cement

slush fill voids slush fill voids 20*20*10 cut stone

2.5*2.5*1.5 mosaics

2 cement

20*10*5.5 brick

52*52*52 cobble stone brick base board 52*52*52 cobble stone brick base board 25 cement mortar 52*52*52 cobble stone brick base board 25 cement mortar 20 concrete floor 25 cement mortar 20*10*5 floor brick 20 concrete floor 20*10*5 floor brick 20 concrete floor 20*10*5 floor brick 10*10*5 floor brick 10*10*5 floor brick 10*10*5 floor brick

expansion joint

Brick, Concrete, Marble Connection Brick, Concrete, Cut Stone Connection Brick, Concrete, Mosaic Connection Greek Wall Ottoman 19th Century Wall Byzantine Wall

56 DETAILS OF THE CITY

19*19*5 19*19*5 19*19*5 standard brick standard brick standard brick

metal brick tie metal brick tie metal brick tie

2 cement metal panels wood studs

2.5*2.5*1.5 ceramic tile

2 cement 2 cement 2 cement

20*10*5.5 brick 20*10*5.5 brick 20*10*5.5 brick

52*52*52 cobble stone brick base board 52*52*52 cobble stone brick base board 52*52*52 cobble stone brick base board 25 cement mortar 25 cement mortar 25 cement mortar 20 concrete floor 20*10*5 floor brick 20 concrete floor 20*10*5 floor brick 20 concrete floor 20*10*5 floor brick 10*10*5 floor brick 10*10*5 floor brick 10*10*5 floor brick

Brick, Concrete, Wood Connection Brick, Concrete, Ceramic Tile Connection Brick, Concrete, Aluminium Connection Turkish Architecture Wall Ottoman 16th Century Wall Contemporary Architecture Period

57 FINAL SHOW

58 FINAL SHOW

59 CREDITS...LIST OF IMAGES

AUTHOR’S NOTE: UNLESS OTHERWISE NOTED, THE IMAGES LISTED HERE ARE THE WORK OF THE AUTHOR. IN ADDITIONAL TO PHOTOGRAPHIC WORK, FRAGMENTS OF IMAGES HAVE BEEN ACQUIRED FROM OTHER SOURCES AND MODIFIED FROM THEIR ORIGINAL, THUS CONSTITUTING NEW WORKS. EXTERNAL WEBSITE LINKS HAVE BEEN PROVIDED IN THIS DOCUMENT WHICH ARE INDICATED WITH BLUE TEXT FROM WHERE NECESSARY INFORMATIONS ARE ALSO PROVIDED AS WELL AS THE TEXTS WHICH ARE MENTIONED IN THE BIBLIOGRAPHY.

CHAPTER 1: CHAPTER 2:

1.1. GALATA TOWER: THE REMARKING OF ISTANBUL BY ZEYNEP CELIK 15.1 ISTANBUL METROPOLITAN GOVERNMENT ARCHIVE 1.2. LOCATION OF ISTANBUL: www.linksshipping.com 15.2, 15.3 THE REMARKING OF ISTANBUL BY ZEYNEP CELIK 1.3. ESMA SULTAN MOSQUE: www.istanbul.com 1.4. VIEW OF GOLDEN HORN: www.istanbul.com 17.1 BYZANTIUM AND ISTANBUL BY CAPE LONDON 1.5. SULTAN AHMET MOSQUE: www.istanbul.com 17.2. LAND WALLS OF ISTANBUL: www.turkeytravelplanner.com 1.6. COURTYARD IN BEYOGLU: www.istanbul.com 17.3 BYZANTIUM AND ISTANBUL BY CAPE LONDON 1.7 TAKSIM-BEYOGLU: www.istanbul.com 1.8. DOLMABAHCE PALACE: www.istanbul.com 20.1 THE REMARKING OF ISTANBUL BY ZEYNEP CELIK

3.1. CROSS-SECTION ALONG THE LAND WALLS: BYZANTIUM AND ISTANBUL BY CAPE LONDON CHAPTER 3: 3.2. LAND WALLS OF ISTANBUL: www.turkeytravelplanner.com 23.1, 23.2, 23.3: www.istanbul.com 4.1. THE PORTRAIT OF VICTOR HUGO: www.gallicon.org 4.2. ILLUSTRATION OF KARNAC IN NOTRE-DAME: NOTRE-DAME BY VICTOR HUGo CHAPTER 4: 4.3. WALLS OF KARNAC: www.africawithin.com 4.4. PARTHENON IN ATHENS: www.zeus.ekt.gr 29.1 ROMAN BUILDING: MATERIALSAND TECHNIQUES BY PIERRE ADAMS 30.1, 30.2 ROMAN BUILDING: MATERIALSAND TECHNIQUES BY PIERRE ADAMS 5.1. LOCATION OF TURKEY IN THE WORLD MAP: www.linksshipping.com 32.1, 32.2, 32.3, 32.4, 32.5, 32.6 ROMAN BUILDING: MATERIALSAND TECHNIQUES BY PIERRE ADAMS

5.2. LOCATION OF ISTANBUL IN TURKEY: www.holylandphotos.org CHAPTER 5: 5.3. LOCATION OF BEYOGLU IN ISTANBUL: www. holylandphotos.org 5.4. GALATA AND PERA ON THE SECOND HALF OF THE 19TH CENTURY 35.1 THE REMARKING OF ISTANBUL BY ZEYNEP CELIK 35.2 BYZANTIUM AND ISTANBUL BY CAPE LONDON 5.5 GALATA REGION AND THE TOWER: www.wwsturkey.com 5.6. 1870 BEYOGLU 2000 BY YAPI KREDI

6.1. JACQUES PERVITITICH INSURANCE MAPS OF ISTANBUL: ISTANBUL UNIVERSITY LIBRARY 6.2. AERIAL VIEW OF ISTANBUL: ISTANBUL METROPOLITAN GOVERNMENT ARCHIVE 6.3. 1870 BEYOGLU 2000 BY YAPI KREDI 6.4. 1870 BEYOGLU 2000 BY YAPI KREDI

8.1. 1870 BEYOGLU 2000 BY YAPI KREDI 32.7 HAGIA SOPHIA: www.istanbul.com

12.1. STROLLING THROUGH ISTANBUL: A GUIDE TO THE CITY BY HILLARYSUMMER-BOYD AND JOHN FREELY 60 BIBLIOGRAPHY...

ADAM, JEAN PIERRE, ROMAN BUILDING: MATERIALS AND TECHNIQUES, BLOOMINGTON. 1994 AKIN, NUR. 19.YUZYILIN IKINCI YARISINDA GALATA VE PERA( GALATA AND PERA ON THE SECOND HALF OF 19TH CENTURY), ISTANBUL, 1998 ANDO, TADAO. TADAO ANDO: ARCHITECTURE AND SPIRIT, BARCELONA. 1998 ANDO, TADAO. INTERCEPTING LIGHT, JAPAN, 1985 AREL, A. ONSEKIZINCI YUZYIL ISTANBUL MIMARISINDE BATILILASMA SURECI (WESTERNIZATION PROCESS IN EIGHTEENTH CENTURY ISTANBUL ARCHITECTURE),ISTANBUL, 1975. BAKER, B. GRANVILLE, THE WALLS OF CONSTANTINOPLE, NEW YORK. 1975 BELGE, MURAT, ISTANBUL GEZI REHBERI ( ISANBUL GUIDE), ISTANBUL.1997 CALVINO, ITALO, INVISIBLE CITIES, SAN DIEGO. 1974 CARMONA, MATTHEW, PUBLIC SPACES, URBAN SPACES: THE DIMENSIONS OF URBAN DESIGN, OXFORD.2003 CELIK, ZEYNEP, THE REMARKING OF ISTANBUL, USA, 1986. DALY, JAY, WALLS, NEW YORK, 1980 DUNN, CARY FRANKLIN, A WALL AND A CITY, 1983 EVANS, GLORIA JAY, THE WALL: A PARABLE, TEXAS, 1977 FOOKES, PETER G. CONCRETE IN THE MIDDLE EAST. ENGLAND. 1977 HITCHCOCK, HENRY RUSSELL, IN THE NATURE OF MATERIALS, NEW YORK, 1973 KILEY, DAN, DAN KILEY THE COMPLETE WORKS OF AMERICA’S MASTER LANDSCAPEARCHITECT, BOSTON, 1999 KOSHALEK, RICHARD, AT THE END OF THE CENTURY: ONE HUNDRED YEARS OF ARCHITECTURE, LOS ANGELES, 1998 KREH, R.T, MASONRY TECHNIQUES, NEWTOWN, 1998 LIDDELL, ROBERT, BYZANTIUM AND ISTANBUL, LONDON, 1958 HUGO, VICTOR, NOTRE-DAME, LONDON, 1888 NIESEWAND, NONIE, CONTEMPORARY DETAILS, NEW YORK. 1992 PRENIS, JOHN, THE DOME BUILDER’S HANDBOOK, PHILEDELPHIA, 1973 ROSSI, ALDO, THE ARCHITECTURE OF THE CITY, CAMBRIDGE, 1982 SCHJETNAN, MARIO, MARIO SCHJETNAN, MASSACHUSSETS, 2002 SUMMER-BOYD, HILLARY, STROLLING THROUGH ISTANBUL: A GUIDE TO THE CITY, ISTANBUL, 1973 SHONFIELD, KATHERINE, AALLS HAVE FEELINGS: ARCHITECTURE, FILM AND THE CITY, NEW YORK, 2000 THIIS-EVENSEN, THOMAS, ARCHETYPES IN ARCHITECTURE, NEW YORK, 1989 WINNING, JAMES R, BEHIND THESE WALLS, NEW YORK, 1933 YAPI KREDI PRESS, BIR BEYOGLU FOTOROMANI( A BEYOGLU PHOTO-ROMANCE), ISTANBUL, 2000 YOUNG, GEORGE, CONSTANTINOPLE, LONDON. 1926

61 VITA...

ELIF ERTEKIN

EDUCATION:

WAACWASHINGTON-ALEXANDRIA ARCHITECTURE CENTER-2002-2004 MASTER’S OF ARCHITECTURE ALEXANDRIA, VA , USA WAAC THESIS DESIGN AWARD

YILDIZ TECHNICAL UNIVERSIY-1997-2001 BACHELOR OF ARCHITECTURE ISTABUL, TURKEY

EXPERIENCE:

ATELIER ARCHITECTS -CURRENT ARCHITECT WASHINGTON DC, USA

VIRGINIA POLYTECHNIC INSTITUTE AND STATE UNIVERSITY-FALL 03/SPRING 04 GTA WAAC, ALEXANDRIA, VA, USA

VIRGINIA POLYTECHNIC INSTITUTE AND STATE UNIVERSITY-SPRING 03 OFFICE ASSISTANT WAAC, AALEXANDRIA, VA, USA

ISTANBUL 2001 CONSTRUCTION FAIR-MAY 2001 FAIR ORGANIZATION MANAGER YEM, ISTANBUL, TURKEY

ISTANBUL 2000 CONSTRUCTION FAIR-MAY 2000 FAIR ORGANIZATION MANAGER YEM, ISTANBUL, TURKEY

SERIFLER ARCHITECTURE INC.-FALL 96-SPRING 97 DESIGNER ISTANBUL, TURKEY

HAZINEDAROGLU CONSTRUCTION INC.-SUMMER 96 INTERN ISTANBUL, TURKEY

BORN IN ISTANBUL, 1979.

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